African dance (also Afro dance, Afrodance and Afro-dance) [1] [2] [3] [4] [5] refers to the various dance styles of sub-Saharan Africa. These dances are closely connected with the traditional rhythms and music traditions of the region. Music and dancing is an integral part of many traditional African societies. Songs and dances facilitate teaching and promoting social values, celebrating special events and major life milestones, performing oral history and other recitations, and spiritual experiences. [6] African dance uses the concepts of polyrhythm and total body articulation. [7] African dances are a collective activity performed in large groups, with significant interaction between dancers and onlookers in the majority of styles. [8]
African dance refers mainly to the dance styles of Sub-Saharan Africa, of which many are based on traditional rhythms and music traditions of the region. Modern African dance styles are deeply rooted in culture and tradition. Many tribes have a role solely for the purpose of passing on the tribe's dance traditions; dances which have been passed down through the centuries, often unchanged, with little to no room for improvisation. [9] [10] Each tribe developed its own unique style of dance, falling into three categories based on purpose. The first is religious dancing, which many tribes purport enhances peace, health, and prosperity. [11] Religious dances often involved masqueraders, performing as both the spirits and those who placated them. [9] Religion and spirituality infused every part of traditional African life, and continues to affect African dance today. The second is griotic, and was a type of dance that told a story. It is named after a griot , which is a term for a traditional storyteller in West Africa. Certain griotic dances were only danced by the tribe's griot; today, troupes perform the same dances that were once exclusive to the griot. The third type is ceremonial. These dances are performed at ceremonies such as weddings, anniversaries, and rites of passage. [11] However, many dances did not have only one purpose. Rather, there was often one primary purpose, that blended into many secondary purposes. Dance was often very important to the maintenance of a ruler's status in the tribal society. Colonialism and globalization have resulted in the eradication of certain styles of African dance. Other styles have been blended together, or mixed with dance styles outside of Africa. [9]
As people were taken from Africa to be sold as slaves, especially starting in the 1500s, they brought their dance styles with them. Entire cultures were imported into the New World, especially those areas where slaves were given more flexibility to continue their cultures and where there were more African slaves than Europeans or indigenous Americans, such as Brazil. African dance styles were merged with new cultural experiences to form new styles of dance. For example, slaves responded to the fears of their masters about high-energy styles of dance with changing stepping to shuffling. [11] However, in North America, slaves did not have as much freedom to continue their culture and dance. [10] [11] In many cases, these dances have evolved into modern dance styles, such as African-American dance and Brazilian dance. For example, the Calenda evolved in Brazil from tribal dance. The Calenda then evolved into the Cakewalk, which was danced originally to mock plantation owners; it then evolved into the Charleston. [11] Capoeira was a martial art practiced originally in Africa which the enslaved Africans masked as a form of dance in order to not arouse the suspicion of plantation owners. [12]
Traditional dance in Africa occurs collectively, expressing the values and desires of the community more than that of individuals or couples. Although dances may appear spontaneous, they are usually strictly choreographed. Improvisation is limited as it places the focus on the individual over the group. [13] Early outsider commentaries noted the absence of the kind of close couple dancing popular in Europe and North America: such dancing was thought to be immoral or in poor taste in many traditional African societies. [14] [15] Among the Yoruba, to give a specific example, touching while dancing is rare except in special circumstances. [16] The only African country whose traditional dances involve partners is Cameroon.
Dances are usually segregated by sex, where gender roles in children and other community structures such as kinship, age, and political status are often reinforced. [17] Many dances are divided by gender, as a result of associations with gender-divided labor, as well as cultural beliefs about gender roles and gender expressions. [18] Dances celebrate the passage from childhood to adulthood or spiritual worship. [19] Among the Lunda people of Zambia, for example, young girls remain in seclusion for months to practice the dance for their coming of age ritual. [17]
In traditional African societies, children begin to learn their traditional songs, rhythms, and dances from the moment of birth, starting with the lullabies sung by their mothers. [20] While carried on their mother's backs during day-to-day work and social events, they are exposed to the music their mothers sing or listen to. Thomas Edward Bodwich, an early European observer, noted that "children will move their heads and limbs, while on their mother's backs, in exact unison with the tune which is playing." [21] Many traditional African children's games, particularly in western and central Africa, include elements that promote the child's ability to understand rhythms. [20] When children are old enough to attempt the dance moves, they imitate accomplished older dancers until they can replicate the dances precisely. They are only permitted to improvise when they have mastered the prescribed choreography. [22]
Musical accompaniment for African dances is highly varied. Most dances make use of the human voice in the form of singing, shouting, recitations, grunts, whispering, and other vocalizations. [23] Many groups use drums. In an African community, coming together in response to the beating of the drum is an opportunity to give one another a sense of belonging and of solidarity, a time to connect with each other and be part of a collective rhythm of the life in which young and old, rich and poor, men and women are all invited to contribute to the society. [24] On the other hand, nomadic groups such as the Maasai do not traditionally use drums. [24]
Many African dances are polyrhythmic, that is, they use two or more conflicting rhythms simultaneously. Dancers may synchronize the movements of different body parts to different rhythms, or alternate fluidly between rhythms. [25] Dancers in Nigeria, for example, commonly combine at least two rhythms in their movement, or three if they are particularly talented. Any more than that is a rare feat. [15] They may also add rhythmic components independent of those in the music. Very complex movements are possible even though the body does not move through space. [26]
Dance historian Jacqui Malone describes how different groups use body parts in distinct ways: "The Anlo-Ewe and Lobi of Ghana emphasize the upper body, while the Kalabari of Nigeria give a subtle accent to the hips. The Akan of Ghana use the feet and hands in specific ways. Strong contraction-release movements of the pelvis and upper torso characterize both male and female dancing in Agbor." [27]
Specific notable African dances, divided by region, include:
Dance | Purpose | Country / Tribe of Origin |
---|---|---|
Adowa | Ghana / Ashanti | |
Agbaja | Ghana / Ewe | |
Agwara | Courtship | Uganda / Alur |
Akogo | Courtship | Uganda / Iteso |
Amaggunju | Uganda / Buganda | |
Ambas-i-bay | Celebration | Cameroon |
Bakisiimba | Celebration | Uganda / Buganda |
Bikutsi | Celebration | Cameroon |
Bwola | Celebration | Uganda / Acholi |
Coupé-Décalé | Celebration | Côte d'Ivoire |
Ding Ding | Uganda / Acholi | |
Ekitaguriro | Uganda / Banyankole | |
Ekizino | Courtship | Uganda / Bakiga |
Entog | Gaze | Uganda / Lugbara |
Entogoro | Gaze | Uganda / Banyoro, Batooro |
Gombey | Harvest | Senegal |
Kete | Ghana/ Ashanti | |
Kakilambe | Fertility ritual | Guinea or Mali / Baga people |
Kwassa kwassa | Celebration | Congo (DRC) |
Lamban | Celebration | Guinea, Senegal, Mali |
Larakaraka | Courtship | Uganda / Acholi |
Makossa | Celebration | Cameroon |
Mapouka | Ceremonial | Côte d'Ivoire |
Mwaga | Courtship | Uganda / Bagisu |
Ndombolo (Soukous) | Courtship | Congo (DRC) |
Owaro | Uganda / Samia-Bugwe | |
Runyege | Celebration / Courtship | Uganda / Banyoro, Batooro |
Sabar | Celebration | Senegal/ Wolof people |
Sunu | Wedding | Guinea, Mali / Mandinka |
Tamenaibuga | Friendship | Uganda / Basoga |
Ukusina | Rite of passage | South Africa |
Zaouli | Celebration and funeral | Côte d'Ivoire / Guro |
Zouglou | Celebration | Côte d'Ivoire |
Naleyo | Celebration | Uganda / Karamajong |
Edonga | Celebration | Uganda / Karamajong |
Afrofusion is a dance style concept introduced by South African choreographer-dancer Sylvia Glasser known as Magogo in the 1970s. [42] [43] [44] The Sylvia Glasser Contemporary Dance Group was established by Glasser in 1971. [45] Sylvia Glasser's protégés consist of international contemporary dance household names, namely Gregory Maqoma and Vincent Mantsoe. [43] Mantsoe was a part of the earliest groups which performed Glasser's historic "San trance" dancing work, Transformations. [44] Afro fusion gained mainstream popularity in African countries such as Namibia and Zambia. Somatic techniques for instance Alexander Technique and release were refined and commixed with African dance styles including pantsula and kwassa kwassa resulting in the hybrid dance style. [46]
American choreograhpher and dancer Chuck Davis is thought to be most recognized for formally introducing African dance styles and traditions on a professional level to America. [47] The DanceAfrica festival founded in 1977 influenced many other cities to partake in African dance culture, it also presents and celebrates African dancers. [47]
In the 21st century African dances became more globally popularized, modern, vast as well as diverse resulting in the dance genre being largely referred to as afro dance sometimes spelled afro-dance, instead of particularly, "African dance". [11] [48] [49] [50] Popular modern afro-dance styles performed via diverse usage such as in music videos and Grammy Awards performances. [51] [52] These internationally popularized afro-dances are inclusive of however not limited to kwassakwassa, vosho, kizomba, jaiva, azonto, pantsula, gwara gwara, skwelewu,bhenga, shaku shaku,s'bujwa, amapiano dances and so forth. [53] [54] [55] [56]
Dance is an art form, often classified as a sport, consisting of sequences of body movements with aesthetic and often symbolic value, either improvised or purposefully selected. Dance can be categorized and described by its choreography, by its repertoire of movements or by its historical period or place of origin. Dance is typically performed with musical accompaniment, and sometimes with the dancer simultaneously using a musical instrument themselves.
Given the vastness of the African continent, its music is diverse, with regions and nations having many distinct musical traditions. African music includes the genres makwaya, highlife, mbube, township music, jùjú, fuji, jaiva, afrobeat, afrofusion, mbalax, Congolese rumba, soukous, ndombolo, makossa, kizomba, taarab and others. African music also uses a large variety of instruments from all across the continent. The music and dance of the African diaspora, formed to varying degrees on African musical traditions, include American music like Dixieland jazz, blues, jazz, and many Caribbean genres, such as calypso and soca. Latin American music genres such as cumbia, salsa music, son cubano, rumba, conga, bomba, samba and zouk were founded on the music of enslaved Africans, and have in turn influenced African popular music.
There are many styles of traditional and modern music of Ghana, due to Ghana's worldwide geographic position on the African continent.
The music of Togo has produced a number of internationally known popular entertainers including Bella Bellow, Akofah Akussah, Afia Mala, Itadi Bonney, Wellborn, King Mensah and Jimi Hope.
Samba is a lively dance of Afro-Brazilian origin in 2/4(2 by 4) time danced to samba music.
Blues dancing is a family of historical dances that developed alongside and were danced to blues music, or the contemporary dances that are danced in that aesthetic. It has its roots in African-American dance, which itself is rooted in sub-Saharan African music traditions and the historical dances brought to the United States by European immigrants.
The music of Grenada has included the work of several major musicians, including Eddie Bullen, David Emmanuel, one of the best-selling reggae performers ever, and Mighty Sparrow, a calypsonian. The island is also known for jazz, most notably including Eddie Bullen, a pianist, songwriter and record producer currently residing in Canada. Kingsley Etienne, a keyboardist, while the Grenadan-American Joe Country & the Islanders have made a name in country music.
Botswana is an African country made up of different ethnic groups, although Batswana are the majority of the population. Music is a large part of Botswana culture, and includes popular and folk forms. Botswana church choirs are common nationwide.
The music of Namibia includes a number of folk styles, as well as pop, rock, reggae, jazz, house and hip hop.
The Ewe people are a Gbe-speaking ethnic group. The largest population of Ewe people is in Ghana, and the second largest population is in Togo. They speak the Ewe language which belongs to the Gbe family of languages. They are related to other speakers of Gbe languages such as the Fon, Gen, Phla /Phera, Ogun/Gun, Maxi, and the Aja people of Togo and Benin.
The music of West Africa has a significant history, and its varied sounds reflect the wide range of influences from the area's regions and historical periods.
Kanda Bongo Man is a Congolese soukous musician born in Inongo, Democratic Republic of the Congo. He became the singer for Orchestra Belle Mambo in 1973, developing a sound influenced by Tabu Ley. His solo career only started to take off after he moved in 1979 to Paris, where his music started to incorporate elements of then-vibrant zouk music popularized by Kassav. His first solo albums, Iyole in 1981 and Djessy in 1982, were hits.
Kpanlogo is a recreational dance and music form originating from the 1960s among urban youth in Accra, Ghana.
Africanisms refers to characteristics of African culture that can be traced through societal practices and institutions of the African diaspora. Throughout history, the dispersed descendants of Africans have retained many forms of their ancestral African culture. Also, common throughout history is the misunderstanding of these remittances and their meanings. The term usually refers to the cultural and linguistic practices of West and Central Africans who were transported to the Americas during the trans-Atlantic slave trade. Africanisms have influenced the cultures of diverse countries in North and South America and the Caribbean through language, music, dance, food, animal husbandry, medicine, and folklore.
African-American dance is a form of dance that was created by Africans in the Diaspora, specifically the United States. It has developed within various spaces throughout African-American communities in the United States, rather than studios, schools, or companies. These dances are usually centered on folk and social dance practice, though performance dance often supplies complementary aspects to this. Placing great value on improvisation, these dances are characterized by ongoing change and development. There are a number of notable African-American modern dance companies using African-American cultural dance as an inspiration, among these are the Whitey's Lindy Hoppers, Alvin Ailey American Dance Theater, Dance Theatre of Harlem, and Katherine Dunham Company. Hollywood and Broadway have also provided opportunities for African-American artists to share their work and for the public to support them.
In many parts of sub-Saharan Africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. Traditional African music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. The beats and sounds of the drum are used in communication as well as in cultural expression.
Kpanlogo, traditionally named Tswreshi or Treshi is a type of barrel drum that is associated with Kpanlogo music, and is usually played with two hands. The drum originates from the Ga people of the Greater Accra Region in Ghana, West Africa.
Dancing in Zimbabwe is an important aspect of the Zimbabwean culture, tradition, spirituality and history. There are many dances that reflect the culture of the people, although the dances may have changed throughout the years. Ethnic diversity is also a key factor in influencing the dances of the Zimbabwean culture. These dances are self-reflective, for the entire community because all music and dance are communal events. Dance to Zimbabweans is a very spiritual, powerful tool that carries on traditions, and chronicles the important events of their history and culture.
Arab folk dances, also referred to as Oriental dance, Middle-Eastern dance and Eastern dance, are the traditional folk dances of the Arabs in Arab world. Arab dance has many different styles, including the three main types of folklore, classical, and contemporary. It is enjoyed and implemented throughout the Arab region, from North Africa to the Middle East.
Ngoma(also ng'oma or ing'oma) is a Bantu term with many connotations that encompasses music, dance, and instruments. In Tanzania ngoma also refers to events, both significant life-changing events such as the first menstruation or the birth or passing of a loved one, as well as momentary events such as celebrations, rituals, or competitions. Ngoma was the primary form of culture throughout the Great Lakes and Southern Africa. Today it is most notable in Tanzania, where it is deemed an official music genre by the National Arts Council (BASATA - Baraza la Sanaa la Taifa). In Tanzania, it is experienced throughout the country and performed, taught, and studied in many schools and universities. The most notable school for ngoma is the Bagamoyo Arts and Cultural Institute, which produces the most prominent chairmen (directors/conductors) and dancers.
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